苗族舞蹈“长衫龙”的行动意象分析  

An Analysis of the Action Images in the Miao Dragon Dance(Chang-Shan-Long)

作　　者：王声珅[1] 

机构地区：[1]贵州大学艺术学院,贵州贵阳550003

出　　处：《贵州大学学报（艺术版）》2013年第2期109-113,共5页Journal of Guizhou University Art Edition

基　　金：贵州省优秀科技教育人才省长专项资金项目"贵州苗族舞蹈文化艺术研究"[合同编号:黔省专合字(2010)125号]的阶段性成果;贵州大学特色学科重大课题"贵州苗族舞蹈艺术研究"[项目编号:GDZT2010013]阶段性成果

摘　　要："长衫龙"(苗语"阿冗玓")属于芦笙舞中带有表演性的男子双人舞,从舞者的身体行动走向及运动轨迹来看,为典型的"∞"字划圆舞蹈行动规律。"长衫龙"表象形式的产生,是最传递民族心理需求、原始宗教和传统习俗的重要表征,继而"长衫龙"的身体运动表象形态,理应是苗族所特有的意识理念进行外化、具象化的集中显现。以"象"达"意",从长衫龙的舞蹈行动发生、行动过程、行动意义三个层面,对其行动意象进行逐一解析。The Miao dragon dance （ Chang -Shan - Long） , as a kind of male pas de deux of the Miao bagpipe （ Lush- eng） dance, displays a typical circle dance with a track of ＂∞ ＂demonstrated by the physical motions and movements of the dancer. The emergence of the Miao dragon dance is an important representation to convey national psychological needs, primary religion and traditional eustomes. And thus the action images of body movement in the Miao dragon dance should be the externalized conceptual ideology and visualized embodiment specific to the Miao nationality. This paper interprets every action image in the Miao dragon dance from the initiation, process and meaning to convey ＂ideol- ogy＂ through ＂images＂.

关 键 词：长衫龙 舞蹈行动意象 太极意象 龙图腾 身体符号记忆 

分 类 号：J722.2[艺术—舞蹈]